A film’s score is one or more pieces of original music composed and recorded especially for the film.
Soundtrack songs can be diegetic or non-diegetic.
Many films will use a combination of score and soundtrack to achieve the desired mood.
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But for some films, music becomes more than a vehicle for atmosphere and functions more like a character.
These ten films all use their unique approach to score and/or soundtrack to shape their narratives.
Both introverted and smart, the pair meet and become pen pals.
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During their correspondence, they decide that they’re in love and should run away together the following summer.
When the time comes, they follow through on their plan.
Both parties and the small island’s police force begin looking for the young runaways.
Alexandre Desplat’s score forMoonrise Kingdomtakes a backseat to the soundtrack.
The soundtrack, by music supervisorRandall Poster, draws heavily fromThe Bernstein Favorites: Children’s ClassicsbyLeonard Bernstein.
As he learns their ways, Paul andChani (Zendaya)fall in love.
The other Fremen are divided when it comes to Paul.
Some believe he is their prophesized messiah, others still see him as an outsider.
Justine marries Michael (Alexander Skarsgard) in a lavish ceremony at her brother-in-law’s estate.
During and after the wedding, Justine gradually sinks into a deeper and deeper depression.
All the while, a rogue planet named Melancholia is on a path towards earth.
Writer and directorLars von Trierwasn’t being particularly subtle when he made a film about depression and titled itMelancholia.
Accompanying each tableau is the Prelude to Wagner’sTristan und Isolde.
The piece functions like a motif throughout the film.
It channels the tragedy of the Tristan and Isolde story and applies it tovon Trier’s modern tale.
But, he also has a well-paying side hustle as a getaway driver for criminals in the LA underworld.
Drive’s score was composed by formerRed Hot Chili Peppersdrummer and current composerCliff Martinez.
Cooper volunteers for the mission, leaving his children in the care of their grandfather (John Lithgow).
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Like many directors,Christopher Nolanmakes choices, not mistakes.
One of the director’s choices while makingInterstellarwas to get experimental with the sound mixing.
Audiences may not have enjoyed the experience, but they did have the experience Nolan intended.
The utterly earsplitting delivery ofHans Zimmer’s hopeful yet melancholic scoreis oppressive and all-encompassing.
To drown out the constant ringing in his ears, Baby listens to music while he drives.
Despite his skill behind the wheel, Baby isn’t working as a getaway driver for fun.
Excluding outright musicals, there are few films with narratives as heavilyinfluenced by music asBaby Driver.
Baby’s love of music, and the songs chosen, are clearly reflective ofdirectorEdgar Wright’s own tastes.
Mrs Chan and Mr Chow spend more and more time together.
They begin to develop romantic feelings for each other, but vow that they won’t act on them.
The performances by iconsMaggie CheungandTony Leung Chiu-waialone would be more than enough to convey these feelings.
But his excitement is quickly dashed when he learns that Fletcher is a verbally abusive and toxic teacher.
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Despite Fletcher’s merciless bullying, Andrew is determined to impress him and prove himself.
The score, soundtrack and diegetic musical performances throughoutWhiplashare almost impossible to untangle from each other.
The result is a constant and frantic barrage of drum-dominated jazz that is as infectious as it is overbearing.
His skill and creative output come at a price, and Reynolds is a controlling and difficult perfectionist.
The pair begin a romance and Alma becomes a muse for Reynolds.
But Alma’s willfulness and independence put a strain on Reynolds and his need for total control.
Greenwood cites romantic recordings of pieces from Baroque composers likeVivaldias key influences for the score.
It also pairs flawlessly with the characterization of Reynolds Woodcock, who is as artful as he is meticulous.
They have a young daughter and lucrative partnerships with luxury brands.
Among the competitors is Patrick Zweig (Josh O’Connor) who is talented but lacks discipline.
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